While looking for another score version of the Rimsky-Korsakov that I posted, I came across the name of Rebikov (that I mention in my biography of Henrique Oswald). While I was not really interested in his work at the moment (he seemed a dull bird at best), the name "Autumn Leaves " caught my fancy. I opened it to get a feel of the land and I liked it. I played it and I liked that too. Doing more research, I found out that what I had was the third of a series of six pieces, called "Autumn Leaves" op 29. It seems to be very popular in Russia and part of the conservatoire curriculum, judging by the amount of pupils who are on YouTube playing it (one of them quite good).

The other piece is by Shostakovich, a trancription (his own?) from a aria (or whatever one could call it) from his operetta (What?? Operatta by whom? Shostakovich? Are you sure?) Moskva-Cheryomushki (you know it Monica: remember the Shostakovich look-alike on YouTube?) This operetta is a favourite at home (with those aged three) and I was lucky there was no singalong while I was recording.

I had a listen to your new recordings. The first by shostakovich is something I have never heard. I didn't know he wrote Operettas, interesting. The music is nice, the tag, on the contrary, is ugly. Chris posted a topic, I can't seem to find it now that says the tags should not be more than 30-35 characters or they will crash the server. And how can it be named sad little ditty? Is this a russian/english transliteration?! As if this wasn't confusing enough, the ending seems very unresolved, as if the composer wrote the bulk of the piece and abandoned the conclusion.

The Rebikov I think I have heard before. It sounds akin to the Op. 23 set Jonathan submitted recently.

I must have missed the tag length thing. It can be shortened. If this (or a rerecording) gets through the net I can change it.

The Shostakovich is called, in Russian "Grusnaya Pesenka", where the former is the feminine singular nominative of sad while the latter the diminutive nominative of song, a songlet, if such a word existed in English. The ending is just like that, in G.

He olny wrote one operetta.

I think the Rebikov is much more interesting, to tell you the truth. Having heard the Rebikov posted I was not inclined to explore further and I am not sure the rest of op 29 is worth that much either. Maybe the 1st one.

_________________Richard Willmer"Please do not shoot the pianistHe is doing his best."Oscar Wilde: Impressions of America: Leadville

That file name cracks me up! I've gotten grief for having too long names, but I'm pretty sure you've topped me with this one!!

I don't remember what youtube video you're referring to...

Anyway, about the recordings: I've never heard the Rebikov piece before and followed along with the score; I think it's part of an administrators responsibility if a submission is an unfamiliar piece. You played it fine and it can go up onto the site. One thing about the file name: please use a lower-case r for rebikov. Riley can correct that pretty easily though, so this if for future submissions.

I'm not sure about the Shostakovich. I did not have time to find the score, but it sounded to me like there were a few hesitant spots - like you don't have the piece quite down yet. Also, your piano sounded more out of tune on this recording. I'm guessing that you recorded these latest pieces all around the same time, but for some reason, this piece sounded off.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

The Rebikov is better than the Shostakovich, both the piano sound and the playing. The Shostakovich sounds a bit tentative, with (I think) some rhythmic issues and pedal blurring. I would agree the R. is ok for the site but the S. could use some more work and slow more conviction (it is so easy to under-estimate a simple piece and record it much too soon).

Thank you for that, Monica and Chris. I am sorry about the capital R. It creeped in unoticed.

I surely can work some more on the Shostakovich. I think what is happening is that someone (not on the forum) made a suggestion about phrasing. It must be worrying about that which gives it that feel of hesitancy you both mention.

The video is exacly one of the Shostakovich operetta, which had been made into a film. No use looking for the song on the film, because it is not there: it did not make it from stage to screen.

Listened to the Rebikov, and I think you could do a bit more with the passionate 'sigh' thing at 1:10+. I think you could also try and take the ending slower at 1:45 and break a bit before the A at 1:50... Other than that it's a pretty alright recording, if a bit one-note in terms of dynamics. Perhaps it's the piano. Also I recommend trying out 1 and 4 of the set.

As for the Shostakovich, I agree that it gets hesitant towards the end and that the phrasing needs work; there are too many sudden jerky accents where speed up, such as that at 1:31. I do think you feel this piece much more than the Rebikov however; the beginning sounds really compelling and somewhat sad.

Listened to the Rebikov, and I think you could do a bit more with the passionate 'sigh' thing at 1:10+. I think you could also try and take the ending slower at 1:45 and break a bit before the A at 1:50... Other than that it's a pretty alright recording, if a bit one-note in terms of dynamics. Perhaps it's the piano. Also I recommend trying out 1 and 4 of the set.

As for the Shostakovich, I agree that it gets hesitant towards the end and that the phrasing needs work; there are too many sudden jerky accents where speed up, such as that at 1:31. I do think you feel this piece much more than the Rebikov however; the beginning sounds really compelling and somewhat sad.

Funny how perceptions are and how subjective and that you feel I have more affinity with the Shostakovich.

I must say that I am not one for the big gesture, the wide rubato, the stormy dynamic contrast, though here the piano "helps", as you rightly note. Would I like more rubato where you mention? Would I want more dynamic contrast? Does Rebikov call for it? I am not sure, but then nothing is final an there is no saying that when I next approach this piece, I might see it differently. In the dynamics I have mf then a dim to mf (but no crescendo leading to it) and a p at the end (but no dim. leading to it.

I did listen to a version of the almost coplete set: I remember No 1 sounded as if had something to it.

_________________Richard Willmer"Please do not shoot the pianistHe is doing his best."Oscar Wilde: Impressions of America: Leadville

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